Showing posts with label molly belle wright. Show all posts
Showing posts with label molly belle wright. Show all posts

Thursday, 13 August 2026

Deep Water (2026)

A plane crash AND a shark or two? Deep Water seemed like it had two main ingredients to easily keep me happy and entertained. It's also directed by Renny Harlin, which is something I would have viewed as a plus about 20 years ago.

Aaron Eckhart and Ben Kingsley play the two main men in the cockpit, and their passenger list includes the very annoying and entitled Dan (Angus Sampson), young Cora (Molly Belle Wright) and her stepbrother, Finn (Elijah Tamati), and a number of people who will become more and more disposable as the danger level increases. What should be a standard international flight is turned into a disaster by a fire in the cargo hold, forcing the pilots to make an emergency landing in the ocean, fortunately close to a coral reef that helps to keep sections of the plane from immediately sinking down into the depths. And then some sharks start to realise that they've basically had a takeaway dropped off for them.

Starting off well enough, everyone is given obvious little moments to allow viewers to identify them once the sharks start circling, Deep Water quickly takes a bit of a nosedive, no pun intended. The cheesy and formulaic nature of the whole thing is only fun while it doesn't feel cheap and lazy, but it's not long until it starts feeling cheap and lazy. Six writers worked on this, SIX, and none of them do enough to make this as fun as it could be. Not only does it suffer in comparison to Harlin's own work (Deep Blue Sea remains one of the best shark movies from the past few decades), but it's also not quite as good as the very similar No Way Up. Maybe a better Harlin from the past could have saved this with his direction, but the Harlin of today doesn't seem capable.

Eckhart tries his best in the lead role, playing his reluctant hero as expected. He's matched by the young Wright, doing even better than many of the older cast members around her. Sampson is enjoyably loathsome, making you root for the sharks each time one seems close enough to eat him up, and everyone else seems to have come straight from their "How To Play Generic Characters In A Weak Ensemble 101" class. Nobody is helped by the screenplay, but some seem to be trying notably harder than others.

Without the benefit of a bigger budget, Deep Water should have at least piled on the ridiculousness. A dangerous criminal/psycho on the plane would have livened things up. An important cargo of refrigerated organs could have also added to the fun. Sadly, you just get Harlin and co. working their way through what feels very much like a box-ticking exercise, with the more ridiculously entertaining moments hampered by the fact that they've already been done better in past movies. Sometimes by Harlin himself.

And yet . . . if you don't mind the varying levels of quality when it comes to the CGI, and you're happy enough to add yet another shark movie to your watchlist, then this will help pass 106 minutes without causing you too much pain. I doubt anyone will ever give it a second viewing though.

4/10

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Friday, 27 December 2024

The Best Christmas Pageant Ever (2024)

I've seen two films this year that deliver a premise of Christmas potentially being ruined by an unruly group of siblings. The first one was Nutcrackers. The second one is this, based on a novel by Barbara Robinson that was previously adapted into a TV movie back in the early 1980s. This is the better of the two films, but it's a surprisingly close call, considering how the third act almost undoes the goodwill earned throughout the first two acts.

Judy Greer plays Grace, a woman who ends up inadvertently in charge of her town's Christmas pageant. It's kind of a big deal, and looks to be thrown into chaos when the Herdmans decide they want to participate this year. The Herdmans are a group of brothers and sisters who have a reputation for causing mischief and mayhem wherever they go. They bully other kids and sneer at most adults. But maybe having them be part of the pageant will help others in the town remember the real meaning of Christmas. Or maybe it will just provide extra stress for Grace, her husband (Bob, played by Pete Holmes), their daughter (Beth, played by Molly Belle Wright as a youngster, and Lauren Graham when older/in her capacity as narrator), and their son (Charlie, played by Sebastian Billingsley-Rodriguez).

Now that I have browsed through the filmographies of writers Ryan Swanson, Platte F. Clarke, and Darin McDaniel, as well as that of director Dallas Jenkins, it's easier to see why The Best Christmas Pageant Ever is how it is. What could have been an entertaining mix of comedy, emotional manipulation, and Christmas cheer ends up eventually locking in on the messaging, to either preach to the converted or try to win others over. You still get some emotional manipulation, as expected, but the early promise of laughs being mixed in to sugar-coat the religious pill is discarded for most of the second half of the movie.

The real shame here is how the cast seem to be wasted, especially when they have so much fun with the scenes setting things up in the first half of the movie. Greer and Holmes work very well as the parents, both Wright and Billingsley-Rodriguez are fantastic as the kids initially overwhelmed by, and afraid of, the Herdmans, and Beatrice Schneider is fantastic as the young girl, Imogene, playing mother hen to her chaotic cluster of siblings. The fact that these main cast members all do so well throughout, as does the rest of the supporting cast (special mention for Kyle Heiman being great as young Gladys), is part of the reason why the film still works well enough, but it's a real shame that they end up feeling rather subdued as the message of the movie starts to overshadow the performances.

Some will enjoy this a lot more than I did, and I'm well aware of the fact that me wishing the movie was something a bit different won't seem fair to those who wish for something Christmassy that, well, remembers to put the Christ back in Christmas (for want of a better phrase). It still needed a bit more though, and Jenkins isn't a good enough director to distract viewers from the times in which the movie grinds to a halt to hammer home the main point. There's still plenty to enjoy here, but a lot of people might feel as if they've been forced to attend a sermon as the end credits roll. Which wouldn't be entirely incorrect.

6/10

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